Capitol TheaterWorks revives radio drama in 'Variety Show'

One of the greatest strengths of CapitalTheaterWorks is that its summer season ishoused in the Ledges Playhouse. Those whoknow its history of ghosts and raccoons maydisagree, but the fantastically creaky venueis perfect for some of TheaterWorks’ recentshows, including its current“1940’s Radio Variety Show.”

Local theater groups haveproduced a couple of slick plays set duringthe golden era of radio drama, namelyLansing Community College’s“Adam’s Rib” and WilliamstonTheatre’s “It Came FromMars.” Audience memberswho saw either of those showswill be primed for the sets,costumes and snappy dialogueof “Variety Show.”

What sets “Variety Show” apart is that itutilizes actual radio drama scripts of the era.The behind-the-scenes plot is formulaic andpredictable, but it’s a serviceable frameworkto hold the show together.

The play will appeal most to an olderaudience that remembers and appreciatesthe power of radio drama. Act One features“My Friend Irma,” a successful radioseries starring Marie Wilson that made thejump to television. The script is ho-hum,but Irma, as played by the character BetsyBardel (who, in turn, is played by AngelaDill) is deliriously ditzy.

“The Bickersons," which starred DonAmeche and Frances Langford, follows, andit gives Marni Darr Holmes and Henson achance to shine as the couple that set thestage for “The Lockhorns.” In the age-oldVenus and Mars conflict, it’s difficult tochoose which partner is the more put-upon,as their 4 a.m. argument spirals into ridiculousness.

Those too young to remember radio dramawill realize its ability to create tensionin Dill’s no-holds-barred performance of“The Mother-in-Law.” The piece, part of the“Lights Out” series overseen by Arch Oboler,is standard horror fare about ayoung wife driven to kill hermother-in-law. There is a terrificbalance of horror andhumor between Dill’s shriekingand Mahoney’s sniveling asthe emasculated mama’s boy.The final piece, “Dick Kent,Private Eye,” allows Hagedornto show off more than just hishandsome face. As the behind-the-scenes plot thread closeslike a noose around his throat, Hagedorn’sSkip Montgomery tries to stay on script asa stoic private dick while his co-stars sabotagehis performance. Hagedorn plays therole well, balancing irritation with professionalism.

“Variety Show,” while slow at times, isa pleasant immersion in the era when liveradio drama was high entertainment. Don’tbelieve it? Try sitting through “The Motherin-Law” with your eyes closed. If Holmes’gravelly voice doesn’t set your spine a-tingling,perhaps one of the Ledges Playhouseghosts will.